32
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PROPERTY FROM A DISTINGUISHED BELGIAN PRIVATE COLLECTION

Netherlandish, Utrecht or Lower Rhine, circa 1490
ANNA SELBDRITT
JUMP TO LOT
32

PROPERTY FROM A DISTINGUISHED BELGIAN PRIVATE COLLECTION

Netherlandish, Utrecht or Lower Rhine, circa 1490
ANNA SELBDRITT
JUMP TO LOT

Details & Cataloguing

Old Master Sculpture & Works of Art

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Netherlandish, Utrecht or Lower Rhine, circa 1490
ANNA SELBDRITT

Provenance

Hermann and Maria Schwartz, Germany;
private collection, Belgium, acquired directly from the above

Exhibited

Aachen, Suermondt-Museum, Bewahrte Schönheit: Mittelalterliche Kunst der Sammlung Hermann Schwartz, 1961;
Darmstadt, Hessisches Landesmuseum, Bildwerke des Mittelalters aus einer Privatsammlung, 1968

Literature

H. Feldbusch and P. Ludwig (eds.), Bewahrte Schönheit: Mittelalterliche Kunst der Sammlung Hermann Schwartz, exh. cat. Suermondt-Museum, Aachen, Aachener Kunstblätter, vol. 21, 1961, cat. no. 47, pl. 43;
Bildwerke des Mittelalters, 1200-1530 aus einer Privatsammlung, exh. cat. Hessisches Landesmuseum, Darmstadt, 1968, p. 33, no. 31 and p. 89

Catalogue Note

When exhibited in 1961 and 1968, this large Anna Selbdritt group was given a Northern Rhenish origin, with citation of the influence of the Utrecht master Adriaen van Wesel. This theory can certainly be sustained; the wavy hair, long face and downcast gaze of the Virgin in the present group are strongly reminiscent of Adriaen van Wesel's Kneeling Virgin from an Adoration in the Rijksmuseum (inv. no. BK-NM-11713). However whether the Anna Selbdritt originated among van Wesel's followers in Utrecht, or further East towards to the Lower Rhine, is debatable. Stylistically the group relates to one of the same subject in the Suermondt-Ludwig-Museum, Aachen (inv. no. SK 323), tentatively localised in Utrecht, while the arrangement of Saint Anne standing behind the throne upon which the Virgin is seated appears in another Anna Selbdritt from Utrecht (Museum Catharijneconvent, Utrecht, inv. no. ABM bh499). Further comparisons might instead support a Lower Rhenish origin of the present group, under the influence of Utrecht. See, in particular, the Saint Ursula by the Master of the Emmerich Saints (Preising and Rief, op. cit., no. 10.6), in which the heavy folds that gather across and below the Virgin's knees are repeated. 

RELATED LITERATURE
D. Preising and M. Rief (eds.), Mittelalterliche Bildwerke aus Utrecht, 1430-1530, exh. cat. Museum Catharijnenconvent, Utrecht and Suermondt-Ludwig-Museum, Aachen, 2012, pp. 136-137 and 267-268

Old Master Sculpture & Works of Art

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London